Gunman In The Streets (aka Gangster At Bay) (1950)

Set in France, an American army deserter (Dane Clark) turned petty crook escapes from the van transporting him to a court date. He contacts his girl (Simone Signoret) to help him get out of the country. Will the police catch him before he escapes? This gangster thriller was filmed in France with a French crew but with an American director, Frank Tuttle (THIS GUN FOR HIRE), at the helm. Clearly influenced by the Warners gangster movies of the 30s and 40s, it was filmed in two versions, one in English by Tuttle and one in French with Borys Lewin directing the French version. It's a highly atmospheric noir-ish piece with a generous touch of the French fatalism of such films as LE BETE HUMAINE and LE JOUR SE LEVE. Clark is properly thuggish and Signoret already has the potent screen presence that would make her one of the major French actresses of the decade. The only negative is the awful Joe Hajos underscore. With Fernand Gravey, Michel Andre and Robert Duke whose American journalist is a bit too good to be true.

The Agony And The Ecstasy (1965)

When the Florentine sculptor Michelangelo (Charlton Heston) is summoned by the Pope (Rex Harrison) to paint the ceiling of the Sistine Chapel, he protests as he considers himself a sculptor and not a painter. But the Pope persists and the animosity between the two men is center stage as Michelangelo reluctantly takes on the project. Based on the novel by Irving Stone, who had previously written LUST FOR LIFE about Vincent Van Gogh. He's not so lucky this time around. The film makers have attempted to make an Epic out of what should have been a simple film. To that end, there's a lot of bloat in the film. The film begins with a 10 minute prologue discussing Michelangelo's work (which presumes its audience has no idea who the man was!) before the opening titles. There was no "romance" in Michelangelo's life so an unrequited romantic relationship has been concocted in the form of Diane Cilento as a Contessa that is unnecessary and could easily have been eliminated. The film has an intermission at the 1 hour mark. With the fat trimmed, the film could have easily run under two hours. As written here, there's no way poor Heston could have salvaged Michelangelo. At least, covered in paint and sweat he looks the role. Harrison barks his way through the film and comes off somewhat better. Visually it's quite handsome and there's a majestic underscore by Alex North. Directed by Carol Reed who would recover nicely with his next film, OLIVER! With Harry Andrews, Tomas Milian, Maxine Audley and Adolfo Celi. 

Beautiful Girls (1996)

A late 20-something man (Timothy Hutton), currently living in New York, returns home to his small town in Massachusetts for his high school reunion. His friends have never left and he uses this visit to try and discover where he wants his path to go. Directed by Ted Demme, this ensemble dramedy had me going hot and cold through out its running time. The cast is excellent with each character well defined and it was a pleasure watching the actors go through their paces. On the downside, most of the characters are jerks (are there really rednecks in Massachusetts?) and all of the male characters borderline a-holes. And it's hard to sympathize with some of the female characters who inexplicably want those jerks! To the film's credit, Scott Rosenberg's original screenplay allows its characters to finally man up and grow up. The relationship between Hutton and the 13 year old girl (Natalie Portman) is a bit on the creepy side, almost venturing into Woody Allen territory. But Portman and Uma Thurman (as a Chicago visitor) provide some much needed levity and sensibility. With Matt Dillon, Mira Sorvino, Rosie O'Donnell, Sam Robards, Martha Plimpton, Annabeth Gish, Michael Rapaport, Lauren Holly, Noah Emmerich, David Arquette, Max Perlich and John Carroll Lynch. 

Le Dernier Metro (aka The Last Metro) (1980)

After her Jewish husband (Heinz Bennent) is forced into hiding to avoid the Nazis in German occupied Paris during WWII,  his wife (Catherine Deneuve) takes over the running of their theater company. But it's a day to day struggle to survive amid the restrictive atmosphere of the Third Reich. While there have been many films dealing with France under the German occupation, Francois Truffaut's film takes a different route by concentrating on artists struggling to create their Art under oppressive political pressure as well as the human element of dealing with an invasive and intolerable fascist element. In a way, this mini valentine to theater makes a perfect companion piece to his DAY FOR NIGHT which did the same for cinema. This was one Truffaut's most popular films, not only critically but at the box office both in the U.S. and in France. It's easy to see why as he populates the film with an ensemble of engrossing characters, all beautifully acted. With Gerard Depardieu, Andrea Ferreol, Jean Poiret, Sabine Haudepin and Jean Louis Richard.

From Noon Till Three (1976)

A bank robber (Charles Bronson) dallies with a widow (Jill Ireland) on an afternoon from noon till three while his outlaw buddies rob her town's bank. But when his compatriots are caught and about to be hung, she urges him against his better wishes to go help save them which he has no intention of doing. To please her, he pretends to be going to save them. What happens next is ..... well, the stuff legends are made of. Based on the novel by Frank D. Gilroy (THE SUBJECT WAS ROSES), who also adapted the screenplay and directed, this is an unexpected comic delight. The presence of Bronson and his wife Ireland suggests an action filled and bloody western. What we get is a wry romance with an ironic bite. A genuine gem of a sleeper. Bronson has never been more charming and it's the best screen role Ireland ever had. In a way, it seems like Bronson's valentine to her. It's an atypical Bronson movie but I could see him wanting to do it, not only as a change of pace, but as an opportunity to show off his wife's acting skills. The film gets a lift from its cinematography by Lucien Ballard (THE WILD BUNCH). With Betty Cole, Davis Roberts and Elmer Bernstein (who wrote the score) and Alan Bergman (who wrote the title song lyrics) as a pair of songwriters.

Saddle The Wind (1958)

An ex-gunslinger (Robert Taylor) has raised his kid brother (John Cassavetes) since he was four years old. When the younger brother brings a saloon girl (Julie London) home and presents her as his fiancee, the older brother disapproves. But he's more concerned with the brother's penchant for being trigger happy and he's right to be concerned. This modest western is a nifty little effort that concentrates more on characterization than most westerns. It's a morality tale that has no fat and doesn't waste its time (it runs around 84 minutes). Taylor is one of those actors who became a star in the 1930s because of his looks but learned to act eventually and by the 1950s was a solid actor. Cassavetes is problematic because he seems out of place here. He plays the trigger happy cowboy like a teenage rebel a la THE WILD ONE or REBEL WITHOUT A CAUSE. His performance stands out like a sore thumb. Directed by Robert Parrish with a score by Elmer Bernstein. With Donald Crisp, Charles McGraw, Richard Erdman, Royal Dano, Ray Teal, Jay Adler and Irene Tedrow. 

Tokyo Tribe (2014)

Constantly being shaken by earthquakes, a futuristic (or perhaps alternate universe) Tokyo is ruled over by several tribes or gangs if you prefer. They manage for the most part to tolerate each other by staying off each other's turf. But the evil Big Buppa (Riki Takeuchi) and his henchman (Ryohei Suzuki) have plans to start a turf war and take over all of Tokyo. Based on the manga (a Japanese graphic novel) TOKYO TRIBE 2 by Santa Inoue, the film is a colorful mixture of part SIN CITY, part THE WARRIORS, part ABSOLUTE BEGINNERS all done to a hip hop beat. Indeed, since over half the movie is sung (rapped?) to hip hop, it's fair to call it a musical though it's unlike any musical you've ever seen. The violence is of the comic book variety though there is much nudity but the movie is rich in humor too. At first I was leery about a two hour movie with almost non stop rapping (in Japanese) but the mesmerizing hip hop beat and the dazzling visual look of the film (courtesy of Daisuke Soma) are difficult to resist so I just gave in. I can't imagine anyone not being beguiled with it. Directed by Shion Sono. With Young Dais, Nana Seino and Ryuta Sato.

Panic Button (1964)

In order to get a tax write off, an American businessman (Mike Connors) produces a film of ROMEO AND JULIET starring a washed up ex-movie star (Maurice Chevalier), a blonde who can't act (Jayne Mansfield) and directed by a pretentious "artsy" director (Akim Tamiroff). If you've seen Mel Brooks' THE PRODUCERS, you know how this will end up! At first, one may think this is a rip off of THE PRODUCERS but this was actually made some years before the Mel Brooks comedy classic. It would be nice to report that it's a comedy sleeper awaiting reevaluation but the truth is ..... it's just not very good. As directed by Hollywood veteran George Sherman (BIG JAKE), the laughs just aren't there. The film might have benefited from being shot in color so it could showcase the Rome and Venice settings but it's in B&W. I think I laughed once (Tamiroff says "Make her hair sad, it looks too happy") and when not even Chevalier in nun drag can make you smile, you know you're in trouble. With Eleanor Parker (not exactly known for her comedic skills either) and Leopoldo Trieste.

The Private Life Of Henry VIII (1933)

It's 1536 and Henry VIII (Charles Laughton) anxiously awaits the execution of his second wife Anne Boleyn (Merle Oberon) so he can quickly marry his third Jane Seymour (Wendy Barrie). But Seymour won't be the last of Henry's wives. As the title indicates, Alexander Korda's film isn't interested in Henry as King of England but Henry in the bedroom. It's not the sort of film where one dwells on historical accuracy but it's amusing and entertaining with a bit of poignancy here and there. The film is a showcase for Laughton as the lusty Henry (he won the best actor Oscar) and made him a viable Hollywood star. Of the relationships, most of the screen time is devoted to the love triangle between Henry, Catherine Howard (Binnie Barnes) and her lover (Robert Donat, GOODBYE MR. CHIPS). With Elsa Lanchester in a rare role that allows her to be attractive though the fun comes from her consciously making herself unattractive, John Loder and Everley Gregg.

Julie & Julia (2009)

A young woman (Amy Adams) in a government job decides to write a blog about the experience of cooking every recipe in MASTERING THE ART OF FRENCH COOKING by Julia Child (Meryl Streep) in one year's time. Her story is interweaved  with the story of Julia Child's life in France in the 1950s and her beginnings as a cook and writer. The last film of writer/director Nora Ephron, JULIE & JULIA is only half successful. Try as she might, she can't make the contemporary story very interesting. It's not the fault of the likable Adams or Chris Messina who plays her supportive husband. Every time the film shifts to the contemporary story, I longed to be back in France with Child and her husband (Stanley Tucci) who are much more interesting characters, we want more of them. Still, the movie has its undeniable charms and yet another marvelous Streep performance. She manages to give us a seemingly authentic Julia Child and not a Julia Child imitation. I suppose I shouldn't complain, half a good movie is better than none. With Jane Lynch, Linda Emond, Frances Sternhagen, Deborah Rush and Helen Carey. 

A Breath Of Scandal (1960)

In 1907 Austria, a Princess (Sophia Loren) finds herself attracted to an American aluminum salesman (John Gavin) but that won't stop her from fulfilling her duty and marrying a Crown Prince (Carlo Hinterman). But not if he has anything to say about it and it's American perseverance versus Old European tradition. Based on Ferenc Molnar's play OLYMPIA, this period comedy needs a lighter touch than director Michael Curtiz is able to give it. It's the kind of stuff that Ernest Lubitsch did so well in the 1930s. Reputedly Loren was in a panic over Curtiz's direction (or lack of it) that she had Vittorio De Sica coaching her without Curtiz's knowledge. Alas, Gavin (no surprise) lacks a comic bone in his body and he's his usual wooden self and there's zero chemistry between him and Loren. The film looks fantastic however thanks to Mario Montuori's lensing of the Austrian countryside, Hal Pereira's sumptuous art direction and Hoyningen Huene's gorgeous turn of the century costumes which Loren wears nicely. With Maurice Chevalier, Angela Lansbury (wasted), Isabel Jeans (who gives the film's best performance as Loren's mother) and Milly Vitale.

Abbott & Costello Meet The Mummy (1955)

When two Americans (Bud Abbott, Lou Costello) stranded in Egypt attempt to apply for a position with an Egyptologist (Kurt Katch) to accompany his finding (a mummy) to the U.S., they find him murdered. This is only the beginning of an adventure that will find them dealing with two opposite factions interested in finding the tomb of the Princess Ara. Silly nonsense but that's exactly what you expect and want from an Abbott and Costello movie. This is one of their better comedies (and their last under their Universal contract) and is directed by Charles Lamont who directed them in 9 of their films. They rework several of their old comedy routines for the movie and they're still funny this time around. The ante is raised by the casting of the wonderful Marie Windsor as the film's tough villainess. It's a Universal backlot Egypt of course but who's looking for authenticity? With Michael Ansara, Richard Deacon, Dan Seymour and Peggy King.